Saturday, April 21, 2018

Anita Lasker-Wallfisch to address the Wigmore Hall

Anita Lasker-Wallfisch
It's rare for any concert in hall in London, except the eclectic Southbank Centre, to present anything with overtly political overtones. So all credit to John Gilhooly at the Wigmore. Watching the cellist Anita Lasker-Wallfisch, 92 and a survivor of Auschwitz and Bergen-Belsen, address the Bundestag in Berlin a few months ago, he decided she must give the address to London as well, in English - from the stage of his hall. She will speak about her own experiences and the importance of learning from one of the darkest moments of human history.

The event, on 8 July at 3pm, will also feature her son Raphael Wallfisch (cello) and John York (piano) in music Bloch, Ravel and Korngold. It will be live streamed on the Wigmore Hall website.

Gilhooly says:

“After I saw Anita Lasker-Wallfisch's address to the Bundestag, I felt it had to be heard in London, so I invited her to give the address in English at Wigmore Hall. As a non-Jewish leader working in the arts, I feel it’s necessary to give a public platform wherever possible to highlight the dangers of anti-Semitism, and I am puzzled as to why other non-Jewish voices have yet to speak out. After all, the Jewish diaspora has done so much for this country, in the arts, sciences, politics, medicine and not least philanthropy. Anita’s words are so important to hear, as history has shown, time and again, that where anti-Semitism, racism and extreme views are on the rise, dark times are usually never far behind. Combined with powerful and appropriate music, this very special event is presented as a timely lesson for all generations and creeds.”

Having heard her speak several times before, including an interview I did with her on stage at the ROH Linbury Studio, I can promise you that you need to hear this, and be there if you possibly can.

Booking here.

Thursday, April 19, 2018

Proms news: Roxanna rules the airwaves!

It's the Proms launch today and the great news is that the Last Night commission goes to our very own Roxanna Panufnik!

Roxanna rules the waves

She is writing a choral piece, Songs of Darkness, Dreams of Light, for the combined forces of the BBC Symphony Chorus and BBC Singers involving a poem by the World War I poet Isaac Rosenberg and lines from The Prophet by Kahlil Gibran.

Today's tension is reduced, of course, by the fact that the whole programme went online at 7am, so there will be no repeat of the little adrenaline rush that accompanied the opening of the nice fat brochure at the press briefing, let alone of the time I teared up there on seeing the words KORNGOLD SYMPHONY on a Proms page for the first time ever. Everyone is tweeting their highlights and I've had a quick zip through the website to see what jumps out. No doubt I will have missed plenty, so please forgive me if your favourite concert does not appear in this post...

For opening night there is another new commission, this time from Anna Meredith: Five Telegrams occupies the whole second half of the first Prom, exploring communications from the front line of World War I, involving chorus, orchestra, projections and youth choir, in collaboration with 59 Productions. Indeed, it's a season in which the Proms sets out its stall for the celebration of female as well as male composers, with 24 featured across the two-month season. It does seem extraordinary to think that amid more than 90 concerts, 24 female composers is still really a lot... Eight are world premieres from composers receiving their first BBC commissions, including a piece by the splendid Laura Mvula and one by Bushra El-Turk. Tansy Davies's 9/11 opera Between Worlds is represented by the world premiere of a new orchestral suite from it, entitled What Did We See? Among the longer-established names are electronic stars Delia Derbyshire and Daphne Oram, and there are pieces by Dame Ethel Smyth, Thea Musgrave - celebrating her 90th birthday - and Lili Boulanger (the centenary of her terribly early death is this year).

Women conductors? Some. Not a lot. Karina Canellakis conducts the BBC Symphony Orchestra. Sian Edwards conducts the Bournemouth Symphony Orchestra's Resound Ensemble in a "relaxed" Prom (explanation on site). Marin Alsop is here to work with a 'Proms Scratch Orchestra' in which amateur musicians can come and join in Shostakovich 5 with the BBC Concert Orchestra. The website kindly advises you to bring your own instrument unless you are a percussionist.

BIG stuff, which works so well in this setting and atmosphere, is laid on almost with the proverbial trowel. Mahler Symphony No.8. Messiaen's Turangalîla (with pianist Angela Hewitt). There's Debussy's Pelléas et Mélisande, from Glyndebourne; the Strauss Alpine Symphony, BBC Scottish/Volkov; the Brahms German Requiem, conducted by Richard Farnes. The LSO and Rattle do Ravel, with Mrs Rattle, Magdalena Kožena, singing. The LPO and Orozco-Estrada have the Verdi Requiem, notably with rising superstar Lise Davidsen (soprano). John Eliot Gardiner and his Orchestre Révolutionnaire et Romantique presents an all-Berlioz programme, with Joyce DiDonato, among others. The Aurora Orchestra is playing Shostakovich 9 from memory. And there's a singalong for everyone, folksongs from Britain and Ireland - you can sign up to join in from 22 June.

Speaking of anniversaries, Bernstein gets a very thorough bonanza, the highlights including both West Side Story and On the Town, each with no less than the glorious John Wilson and his John Wilson Orchestra. Yes please.

One attractive innovation seems such an obvious idea that you can't help wondering why they haven't done it before: a concert focusing on the BBC Young Musicians of the year and the past, with a splendid cavalcade of winners and finalists from Sheku Kanneh-Mason to Nicholas Daniel and Nicola Benedetti and many more. Jess Gillam also gets to play in the Last Night.

Visiting orchestras: nice to see the National Youth Orchestra present with George Benjamin conducting an eclectic programme, and Proms favourites Barenboim and the West-Eastern Divan Orchestra on a return visit. The Berlin Phil is the biggest name, with Kirill Petrenko, and good on them for programming Schmidt's Symphony No.4 in one of their two concerts; and the Boston Symphony is hot on its heels, with Andris Nelsons and, not least, Mahler 3. The World Orchestra for Peace is back too, after a longish break, this time with a conductor less controversial than the last one and extremely fine, namely Donald Runnicles, playing Beethoven 9, Britten and a new piece by Ēriks Ešenvalds. The Bergen Philharmonic is here with Edward Gardner, the Rotterdam Phil with Yannick Nézet-Séguin, and the Estonian Festival Orchestra performs Arvo Pärt. The Minnesota Orchestra offers Bernstein and Ives, with conductor Osmo Vänskä. Teodor Currentzis and his Musica Aeterna make their Proms debut in an all-Beethoven programme, which will be - um - interesting. Best of all, the Budapest Festival Orchestra is back, with Iván Fischer, performing Bartók, Enescu and Mahler's Fourth.

More premieres - there are 42 in all: new works by Philip Venables, Rolf Wallin, Per Nørgård and a bunch of pieces commissioned from composers including Uri Caine and Mark-Anthony Turnage to complement Bach's Brandenburg Concertos, courtesy of the Swedish Chamber Orchestra.

Late-night Proms are often special highlights and this year we can look forward to Sir András Schiff playing the second book of Bach's 48 Preludes and Fugues. There's a concert exploring the sounds of New York City, one by members of the Buena Vista Social Club, and a visit from the Grammy-winning Senegalese singer Youssou Ndour. More ventures beyond classical include the rising jazz star Jacob Collier and oud virtuoso Joseph Tawadros. The National Youth Jazz Orchestra tackles Rhapsody in Blue, with Benjamin Grosvenor at the piano.

But there's nothing pop, nothing I can spot that would raise the hackles and headlines we normally start seeing in the tabloids around now. Perhaps they're worried about people dying of shock upon noticing the name of a pop group in a classical series? As one might say, plus ça change...except it could be that they're now rolling over and accepting that it's not worth the buss and fother.

Among pianists there are no big surprises - Yuja Wang, Khatia Buniatishvili, Louis Lortie, Bertrand Chamayou and Paul Lewis are there, and Seong-Jin Cho makes his Proms debut. Among singers, over at Cadogan Hall Dame Sarah Connolly makes her Proms recital debut. And watch out also for the wonderful Wallis Giunta singing some Bernstein. There are also talks to enjoy from writers including Sebastian Faulks, Salley Vickers, Patricia Duncker and many more.

The whole season kicks off with Vaughan Willliams's Towards the Unknown Region, a title which is kind of apposite at the moment. Can the Proms lift us, even briefly, above the morass of lies, corruption, greed, incompetence and stupidity that has driven this country into the mess it's currently facing? I bloody hope so. Two months of wall-to-wall musical relief will be very welcome.

If you can't get there, then as always everything's on the radio and a lot is on TV and computer.

Quick verdict: does what it says on the tin. A good, solid, enjoyable and interesting Proms season that does everything the Proms ought to do, without rocking the boat.

Pay your money and take your choice here.


Enjoy JDCMB? Your support, at any level, is warmly welcomed here...


Wednesday, April 11, 2018

If music be the food of love...when do we eat?

This is a perennial issue among those who spend more evenings at concerts or other performances than not. You need to eat. But when do you ever have time?

It's a more widespread problem than we like to admit. I remember interviewing a much bigger-time critic than I am and asking what the most challenging thing about this job is. Reply? "Working out when to eat. I've never cracked it."

Here is an extreme example, more extreme than usual. But frankly, usual is pretty odd too.


The other night I found myself in a position I'd never dreamed of. (Well... OK, yeah, I dreamed. Who wouldn't?) But there we were, the Silver Birch team from Garsington, glammed up in our silks, velvets and black tie, converging around 5.30pm in the Chandos Pub for our big evening as a finalist candidate for the International Opera Awards a few doors up at the London Coliseum. I've had nice things happen to me over the years, but never before been a member of a team in the running for anything like the "Toscars" (as it's affectionately nicknamed by the cognoscenti).

Of course, I knew as soon as I looked at my ticket that we hadn't won. The Coli is London's biggest theatre, and from row G of the dress circle it would take about half an hour to walk all the way down to the spotlit stairs to the stage, depending on the height of your heels. Sure enough, the Education and Outreach category was the first to be announced, and it went to...Opera Holland Park – which, incidentally, more than absolutely deserved it.

That was about ten minutes in, after the chorus of the Opera Awards Foundation bursary young singers had set off the proceedings with "Wach auf!" from Meistersinger, magnificently wrong-footing those who'd been preparing to stand up for the national anthem (a Your Highness was present). Final curtain was three hours later.

I'd had some soup and a sarnie before leaving home at about 4.45pm. This being London, distances are large and trains not always reliable, so you have to leave plenty of time for the journey. And this is what happens, time and again - if a more extreme version, as the awards started at 7pm and we were partying in the pub first.


• If you eat a "proper meal" at lunchtime, you fall asleep (at least, I do).
• If you try to eat a proper meal at 4.30pm, you're not usually hungry.
• If you try and eat in the pub, you can't talk to anyone because your mouth is full, and there wasn't really room in our little gathering.
• You can't sit in the Coli with your sarnies munching your way through the Toscars, especially not when Teresa Berganza walks in to collect her Lifetime Achievement Award and the whole place goes absolutely bananas.
• The interval is 20 mins and you visit the loo, bump into people and try to find the water jug in the bar.  You could queue up and see if they have crisps, but that would take forever and you'd have to down them so fast you might cough on the crumbs, which, needless to say, must be avoided. You could munch a sarnie somewhere, if you'd remembered to bring one, but even then you'd probably want to maintain your dignity and do it outside, and it was pouring with rain.
• More Toscars. Touching acceptance speeches from Brett Dean for his fabulous Hamlet, and from sopranos Malin Byström (Female Singer of the Year) and Pretty Yende (who won the Readers' Award). The intriguing sight of Serge Dorny, whose Opéra de Lyon won Opera Company of the Year 2017, presenting the prize for 2018 to the Bayerische Staatsoper, where he's shortly to take over as Indendant himself. And splendid performances from several stars including Young Artist of the Year Wallis Giunta singing Orlofsky's aria from Die Fledermaus in full-on Cabaret style with top hat, blazing presence and razor-edged diction. But you don't really want your stomach to start rumbling...


Wallis Giunta in a spot of Rossini - you don't want stomach rumbles when this lady starts to sing.

You can apply a policy of eating 'little and often', which is my usual solution. You should never leave home without a sandwich or a muesli bar or a banana. But there you are at the Toscars, and as the end of the third hour approaches you're feeling worse than light-headed.

What do you do?

• You can try and blag your way into the after-party - apparently there were vegetable crisps.
• You can go to the QEH and crash the Chineke!/reopening party, but there might not be vegetable crisps.
• Or you can leg it to the 22:33 home and thence to the tin of baked beans in the cupboard that you can hear calling your name.

The beans won.

We are possibly in a state of national cultural denial over people's need to eat. I've even been to weddings where the champagne has flowed...over a few dotted-around bowls of cheesy wotsits. Concerts and theatres usually start at 7.30pm, leaving you not quite enough time beforehand unless you can get away from your desk early, while making finishing time rather late to fit in a meal and the train home, or the other way round, without causing nightmares via heavy stomach and headache before bedtime. An 8pm start might give you time to eat, but then cause anxiety if you have a long journey ahead. A 7pm start usually indicates a substantial programme rather than an early finish - except sometimes on Sundays, which is always good, because we are also in a state of national cultural denial about people having actually  to go anywhere by train on a Sunday.

My survival tips:

• Always take a sandwich with you, or at least a muesli bar.
• Don't forget this.
• Don't have alcohol if you're at a do where there's plenty of drinks but no eats – unless you have remembered your sandwich and there's time to eat it.
• Pace yourself. Try to have several nights in per week, and cook a really good meal with wholesome ingredients and heaps of vegetables. Your health matters and so does your family's.
• Remember: if you do take your sarnie, then you can also crash whatever after-party is appropriate without fear of passing out.
• If everyone else is good at pretending to rise above it all and travel to higher realms, then let them. It's your stomach. Take responsibility. Take back contr...oh, whatever.

Tuesday, April 10, 2018

Positively brilliant

Last night the Queen Elizabeth Hall reopened in grand style with a performance by Chineke! which by all accounts raised the new roof high indeed. I couldn't be there because I had to go to something else (of which more shortly), but I'm pleased to offer an insider's view of what it was like to be part of that concert - because my husband was playing in it. He is, as you know, usually in the London Philharmonic. And my gosh, he had a good time. Over to Tom...

Chineke! with conductor Anthony Parnther (Tom is at the back on the left)
Photo: Mark Allen

So, my dear, some people were apparently quite surprised to see you playing in Chineke! But you are of an ethnic minority, technically - please explain?

Tom aged 24
One of the main misconceptions of Chineke! is that only black musicians may play in it; the mission statement clearly says “ The organisation aims to be a catalyst for change, realising existing diversity targets within the industry by increasing the representation of BME musicians in British and European orchestras.” I am sure anyone strongly believing in this, as I do, would be most welcome to participate, as either a performer or indeed as a financial sponsor.

I also feel a link with Africa: in my youth I was blessed with a splendid Afro haircut – my father used to say that I resembled the US activist Angela Davis... Obviously this stems from my Jewish roots. Going back thousands of years the Jews were undoubtedly descended from Africa. Hence my frizzy hair!

Chineke! players come from all over the world and are performers at the top of their game. Tell us about who some of your colleagues were? 

Tom with leader Tai Murray
Tai Murray, the orchestra’s leader is a truly marvellous violinist. At the age of 9 she debuted with the Chicago S.O. She has made a stunning recording of the Ysaÿe solo sonatas.
Mariam Adam, the first clarinet, has worked with Yo-Yo Ma, played as a soloist at Carnegie Hall, and is now based in France.
Samson Diamond, originally from Soweto, is now in demand everywhere as a freelance orchestral player.
Mandhira de Saram is the leader of the Ligeti quartet.
I loved the internationality of the orchestra. At least seven of the members are either born or based in Germany and Austria; from time to time I had to pinch myself – are we in London or Berlin?!

What it was like for you all to integrate into one orchestra? How is it different from playing in your usual orchestra?

I felt welcomed and very much at home from the start – musically it felt very similar to the high standard of the LPO.

What was the atmosphere like in the rehearsals and the concert?

At the start of the week I hardly knew anyone, and vice-versa. I must admit to enjoying that. I suppose after 32 years in the LPO, perhaps we know each other too well…
The big difference is that everyone is in Chineke! because they passionately want to be there – as opposed to simply doing “the day job” to which you are so accustomed, however good that may be.

Chi-chi Nwanoku
What did you enjoy most about it?

Feeling that together we had achieved something really special by playing exceptionally well. As a musician, that is always the most important aspect. I think Chi-chi Nwanoku can be extremely proud of what she has created here!

What’s the refurbished QEH like?

You might not guess it from looking at the place from the other side of the river, but it is really wonderful. I played in it a lot 12 years ago when the RFH was being refurbished, and it is transformed. The stage is now much more comfortable and spacious and as it is wider, going clean from side to side of the hall, the acoustic is even better. The wood looks beautiful and shiny and warms up the hall. The foyer is big and welcoming and much more user-friendly. Well done, Southbank Centre – it’s money well spent!

What do you “take away” from this experience?

I love the sheer positiveness of Chineke!. When I really enjoy a concert, I want to shout from the top of the tallest building and tell the world. It’s depressing if you know full well an orchestra has done a wonderful concert, you say “that was great” and some cynic chooses to reply, “Was it?” Last night after the performance all my colleagues in Chineke! were enthusing about the great concert. Their wonderful inspiration is going to make me even more determined to enjoy the rest of my career!

You can hear the concert, which was broadcast live on BBC Radio 3, on the iPlayer, here.

Monday, April 09, 2018

Under African skies

It's a big day here in rainy old London. Tonight the Queen Elizabeth Hall reopens after a two-and-a-half-year closure for refurbishment, and the lucky orchestra doing the concert is Chineke!, the UK's first BAME orchestra founded by the indomitable Chichi Nwanoku. I can't go, because Garsington Opera's Learning and Participation Department is a finalist for an International Opera Award for Silver Birch and so we are trooping off to the Coliseum for the awards evening. Wish us luck. Meanwhile, if, like me, you can't attend the Chineke! concert, you can hear it on BBC Radio 3.

And you can also hear a fabulous new CD from the pianist Rebeca Omordia, which explores the music of three composers from her father's native Nigeria. I loved it to pieces. The music is gritty, passionate, imaginative, startling and irresistible by turns - highly recommended. I asked Rebeca to do an e-interview to tell us more about it.




JD: Please tell us why you wanted to make this CD?
RO: I was always interested in exploring my Nigerian heritage (I was born in Romania to a Romanian mother and a Nigerian father) and the idea of the CD emerged in 2013 after cellist Julian Lloyd Webber, whom I was working as duo partners with, suggested I investigated if there was any music by Nigerian composers. After a long research I discovered a very interesting piano repertoire which I gradually started including in my recitals. The music was very well received and I decided to record it in order to make it known to a wider audience. 

JD: What's been your own path so far? And what does it mean to you, personally, to be performing and recording African music?
RO: My path hasn't always been smooth. I was born during Ceaușescu's regime when inter-racial marriages where not socially accepted and I had to put up with a lot of discrimination as a child, especially in school. I was fortunate to have very supportive parents who helped me overcome it and I somehow managed to integrate in a society that never really accepted me. In Nigeria, you must claim your father's country, so I am regarded as Nigerian, which always gave me a strong moral support as well as a strong feeling of claiming my African roots. Things changed after the Fall of Communism and gradually the society became more tolerant. 

I came to the UK in 2006 when I received a scholarship to study Masters at Royal Birmingham Conservatoire, and from that moment, my life changed. I was fortunate to win the 'Delius Prize' in 2009 which opened the collaboration with cellist Julian Lloyd Webber. We started working as duo partners in 2012, touring the UK, performing at the Wigmore Hall and on live broadcasts on BBC Radio 3 and so, I was never reminded that I was 'different' but I learnt to embrace it. The African recording became very much a personal project for me where I was embracing my African roots with all its cultural beauty and diversity. The title of my CD is 'EKELE' which in Igbo language means 'Greetings' and it is my way of bringing greetings from my father-land to the western world.

JD: How did you decide on the programme? 
RO: Deciding on the programme for the CD took a long time. Apart from Fred Onovwerosuoke's 24 Studies in African Rhythms, none of the music has been published so it took months and years to gather the material, and then, I had to select what would be best for a first CD. I hope that the recording will raise enough interest and the music will eventually be published. 

Rebeca Omordia
Photo: Silas Eziehi

JD: You've chosen music by three composers - Ayo Bankole, Fred Onovwerosuoke and Christian Onyeji. Please tell us a little more about them? (I was horrified to read that the brilliant Ayo Bankole was murdered...) 
RO: The music of Ayo Bankole dominates the disc and he is one of the most prolific and probably the most famous Nigerian composers to date. After studying at the Guildhall School of Music and Drama in London as well as at Cambridge University, he returned to Nigeria in 1966 where he was appointed Senior Producer in Music at the Nigerian Broadcasting Corporation and later became lecturer in music at the School of African and Asian Studies, University of Lagos. His early death, in 1976, at the age of 41, cut his career short  (him and his wife were murdered by his half- brother). As a composer, Ayo Bankole is renowned for his originality of blending elements of traditional Yoruba music with western classical music in his works. 
Award-winning Fred Onovwerosuoke (or FredO, as his friends call him) was born in Ghana in 1960 to Nigerian parents and was raised and studied in Ghana as well as in Nigeria. He received a scholarship and went to study composition at Principia College, MO, in the United States, where he is now residing. FredO became internationally renowned for the use of his chant 'Bolingo' in Robert De Niro's feature film 'The Good Shepherd'. The '24 Studies in African Rhythms' for piano is his most known work which has been recorded by various international artists. In 1994 he founded the St. Louis African Chorus, now renamed African Musical Arts Inc.,  to help nurture African choral music as a 'mainstream repertoire for performance and education'. 
Christian Onyeji, the youngest of the three composers (born in Nigeria in 1950), is Professor of Music at the University of Nigeria, Nssuka, and he specialises in the ethnomusicological research of African art music. 

JD: What qualities in the music itself stand out as particularly African in character? 
RO: In Nigeria, there are three main ethnic tribes (Igbo, Yoruba and Hausa) and people are defined by the tribe they come from, therefore, the music of each composer has the peculiarities particular to the music of the tribe the composer comes from. 
Ayo Bankole was Yoruba and we can find many traditional Yoruba melodies and rhythms in his piano works. Even though his music might sound European (especially his Piano Sonata no. 2), it is easy to detect an African influence. To Nigerian ears, his Yoruba tunes are easily recognisable. 
Christian Onyeji is Igbo and he explores the musical language specific to the traditional Igbo music. As an ethnomusicologist, he developed the 'drummistic piano style', which is characteristic to his piano works.  
'FredO' travelled all over Africa where he gathered material which he transcribed and used in his 24 Studies in African Rhythms. Each Study is inspired by the dance or the song of a different African country. Study no. 1 'Okoye' refers to the first day of the Igbo calendar 'Orie' that marks the 'Market Day' which causes reason for celebration.


JD: What would you say are the main challenges facing classical composers in African countries today? 
RO: Classical music is not widespread in Africa and most people still don't have access to it, so it is very difficult for composers to make a living as musicians, not to mention becoming internationally renowned. Most of them are lecturers, working in universities, and hoping their works will one day be discovered. The Musical Society of Nigeria (MUSON) is doing a great work promoting classical music. They run the national conservatoire of Nigeria, giving young people the opportunity to learn music at a very high standard - MUSON School of Music has produced internationally renown artists, including pianists Glen Inanga and Sodi Braide, and tenor Jo Oparamanuike who has now returned to Nigeria and runs the Vocal Department of MUSON School of Music. MUSON Symphony Orchestra gives regular concerts at Agip Recital Hall in Lagos, concerts which have a very good attendance. Their repertoire includes orchestral works by Nigerian composers which are a constant presence in their concert programmes.

JD: As an artist of international reputation with roots in Nigeria, do you feel you have a personal mission to get this music 'out there' and help it achieve the recognition it deserves? 
RO: I have been promoting Nigerian classical music ever since I discovered it and I hope my CD 'EKELE', the first CD of its kind ever released in the UK, will be a step forward for African classical music to gain international recognition. 

JD: How do you feel about the current explosion of equality awareness in the music field? What's your view on achievements to date, how much further there is to go and how the change of awareness can lead to real change? 
RO: We are living in a time when equality and diversity are more than just box-ticking in the classical music world. The tables are turning with 'diversity' and we are seeing young musicians from diverse backgrounds making their mark in the classical music scene. Sheku Kanneh-Mason and the Chineke! Orchestra are evidence of how powerful their impact has been in bringing a radical change to the classical music industry. 

JD: Do you have plenty more African repertoire up your sleeve for us to hear and enjoy after this disc? What would be your recommendations for further listening? 
RO: Besides piano music there are many songs and chamber music. There was a plan in 2013, while I was still playing with Julian Lloyd Webber, for Julian and I to perform some of the chamber music at the Africa Utopia Festival in Southbank Centre. Sadly, his injury prevented this from happening. 
Composer Fred Onovwerosuoke has done amazing work as the founder of African Music Publishers (AMP), in St. Louis, USA, creating a platform of production and worldwide distribution of scores and recordings of music by African composers. In addition to his own works, we'll find available music by  Nigerian composer Akin Euba and Ghanaian composer Joseph H. K. Nketia. 

JD: You've recently been to Nigeria on tour - how did it go? 
RO: I have a large family in Nigeria whom I visited many times but this was the first time I performed there and I had the most amazing reception. In Nigeria, you claim your father's country and I was welcomed as 'the daughter of the land'. It was beyond my expectations and I truly felt at home. The Musical Society of Nigeria (MUSON) was the main organiser and I was impressed with how well everything was planned and how smoothly everything went. There are always unexpected things that can occur on a tour but this time everything was just right. The audience was super enthusiastic and they made me feel like a star. 

Sunday, April 08, 2018

'Hello, George? Orchestre de Paris here....'

The other week, conductor George Jackson's account of his last-minute close encounter with the LSO, some lost Ubers and a banana case became my fourth most popular post ever on JDCMB (behind only the London Hamburger Orchestra, the story of Enescu and an interview with the divine Cecilia). So when he called up and said 'You're not going to believe what happened the other day', I thought he'd better tell us about it.... JD


Remember the Horse...
George Jackson to the rescue, once again


George Jackson
Photo: A.P. Wilding
It’s another Sunday morning, but this time, a more civilised 10:30am. And it’s Easter.  I have had an interesting weekend, beginning with fulfilling my role as ‘best man’ for a good friend (go-karting in Tower Bridge and a barbecue-style feast in East London for the stag) and complemented by listening to my local church choir singing the gorgeous Fauré Requiem for Easter Saturday.

I am sipping coffee and very slowly packing my case for a week in Paris, this time, working with my mentor, Daniel Harding, as second conductor for the gargantuan Ives Fourth Symphony (which requires three conductors).  I decide to check-in with the maestro by text, since he likes us to meet half an hour or so before each rehearsal in the Conductor’s Room.

A reply: ‘George, I have an ear infection.  The doctor just told me not to fly and that my antibiotics might clear my ear in 3-5 days. I’m so sorry.  Not sure what the orchestra will decide to do. I’m going to get back to you ASAP.  You might have to take over the concert’.

Shit.

But then of course, I had just convinced my sister that her car had been stolen during the night (April Fool’s!)  So this must be another one of those.  It’s a damn good one!

Daniel confirms, via sad face emoticon, that it is not an April Fool’s….

‘Would you be willing to step in?’

I am fondly reminded of that Eddie Redmayne story, á la Joey Tribbiani.  ‘Yes!  I can ride a horse for the part.  Of course’. Always say yes.

So I do.

Seventy-five per cent of me still thinks this is an April Fool’s, and 25% is flooded with adrenaline. ‘Expect a call’...

The remaining 75% becomes adrenaline as the Orchestre de Paris’s management call within minutes, asking me how I feel, and whether, alongside taking over the main conducting of the Ives, I can also conduct the other concert items: Jonathan Harvey’s ‘Wheel of Emptiness’ with the Ensemble Intercontemporain, and Jörg Widmann’s clarinet concerto ‘Echo Fragments’, which features the composer as soloist, and a mixed ensemble of Orchestre de Paris and Les Arts Florissants, pitted at opposite ends of the stage in a kind of orchestral time machine.  It’s a beautifully conceived concert, featuring all three orchestras performing side-by-side.

Remember the horse!

About an hour later, I am in Luton Airport’s branch of Wasabi.  I must be the first customer to inhale their (frankly, delicious) 'Chicken katsu yakisoba bento’ whilst poring over an A1 score of an 
Ives symphony (there is still a small soy sauce stain in the top corner of the second movement, page 46).  I am sure the other customers think I am rather odd.

Given my illustrious history of Uber mishaps, I am amazed that, having collected my luggage, an Uber is outside Charles de Gaulle within minutes, and we are speeding our way to Pantin, the Philharmonie’s neighbourhood in north-east Paris.

At the hotel, the first room I am given features a man in a dressing gown cooking pasta and watching Formula 1.  A quick trip back to reception confirms that they did give me the wrong room.  New key card for the room next door: that doesn’t work.  Three return trips to reception (and four flights of stairs each time), and I finally get a fresh room.  The Orchestra have very kindly left scores at reception for the pieces I have not yet seen, the Harvey and the Widmann.

I am sitting down at the desk by 6pm, opening up the scores, prioritising for the next day’s schedule (Ives in the morning, Harvey in the evening).

I break for a shower, where I count from 1 to 100 and recite the alphabet in French (that GCSE finally came in useful).  In a rehearsal situation comprising of about 150 on stage (the Ives features a large chorus too), it will be really important to make sure everybody understands clearly where we are starting from.

I doze off for about 90 minutes in the small hours, powered through the night by the adrenaline high.  The alarm officially wakes me at 8 to go into the Philhamonie for the first reading at 10.  I walk
through the deserted streets (it’s Easter Monday after all), track down a bakery where I order a double espresso and a very fresh Pain au chocolat.  Like the Pilgrim in Hawthorne’s ‘Celestial Railroad’, which forms the basis of Ives’ Symphony, I trudge towards the horizon, Jean Nouvel’s spiraling aluminium forming a curtain to open the week to come.

It’s going to be a wild ride….

GJ

Friday, April 06, 2018

Psst, Kaufmaniacs: Tristan alert

Jonas Kaufmann is singing Tristan und Isolde, Act 2, in concert this week with Camilla Nylund (soprano), the Boston Symphony Orchestra and Andris Nelsons. The New York Times has a sneak preview video, plus an interview by Joshua Barone. The singing sounds quite good.

Kaufmann.
Photo: Gregor Hohenberg/Sony Classical
NYLUND It’s actually very dangerous to drive a car and listen. You always drive much too fast. [She's not wrong - JD]
NELSONS A few conductors have died during “Tristan.” The reason is Act II. It might seem relaxing, but actually the heartbeat and the intensity and level of excitement — it’s so high that you can’t stand it for a long time. So I don’t want yet to die, but I might.
KAUFMANN Do it on Saturday, so at least we’ve done one concert.

Thursday, April 05, 2018

Antonio Lysy: a tribute to his father, Alberto

Handing the cyberspace today to the wonderful cellist Antonio Lysy, son of the now legendary violinist Alberto Lysy (1935-2009). Antonio's projects today include being co-artistic director of the Incontri in Terra di Siena festival in Italy, teaching at UCLA and exploring a range of glorious music in creative formats, from Bach to Piazzolla.

Back in 2001 Alberto and Antonio recorded the Kodály Duo for violin and cello together. This recording was released for the first time just a few weeks ago. Hungarian as Kodály may be, the album is in fact called South America and features works by Piazzolla, Villa-Lobos, Coco Trivisonno and more - paying tributes to Antonio's multifarious background and influences. The South American repertoire is irresistibly seductive and atmospheric, while the Kodály, performed with tremendous intensity, bravura and sensitivity, is more than a treat and a half. In this guest post, Antonio tells us about the coaching his father received from Yehudi Menuhin and Zoltan Kodály himself.

Alberto and Antonio (aged 18) Lysy
Photo courtesy of Yarlung Records

FROM THE HORSE'S MOUTH
A guest post by Antonio Lysy


I first heard my father playing the Kodaly Duo for violin and cello when I was 15. It made me really want to learn it with him, but his proclamation was, “No, it’s too difficult Tonino. Maybe in a few years… when you have hair on your chest.”
 
A few years later, I got my hands on the part when I was studying at the Yehudi Menuhin School.  I practiced so hard to prove him wrong, and brought it to his attention strategically, during the summer vacation. He was suitably impressed, which was a rare occurrence, and my father agreed to play it with me (I can’t remember if he checked my chest hair). We worked on it little by little, tenaciously. Little did I know it was to become the piece my father and I would perform most frequently together.
 
As the young protegé of Yehudi Menuhin, my father learned this work for a performance at Villa I Tatti, in Fiesole outside of Florence, with the Spanish virtuoso Gaspar Cassadò in 1958. Zoltán Kodály himself was staying in Florence at the time, creating a unique opportunity for the musicians to work with the composer in preparation for the performance. My father told me what Kodály shared with him and Cassadò.  The composer inspired them on so many levels and they fell in love with the work.  My father’s first main stage performance was with Jacqueline du Pré at the Sermoneta Pontino Festival south of Rome in 1963.  
 
This rhapsodic piece is infused, as most of Kodály’s works, with a deeply-rooted folk style, emanating from his well-known ethnographic research, collected from the countryside of his native Hungary. As he coached my father and Cassadò he often spoke of limitations in notating the music. “You just have to know the style, and recreate the improvisatory nature of the rustic, or gypsy, folk traditions. I can’t write that out even if I tried. You may want to improvise, adding some of those short cadenza-like repeated notes, or play fewer notes there, depending on your mood,” my father remembered him saying.  In other passages, the opposite was true: “Here you have to be extremely precise - I have written it this way for performers to do strictly what is written.”  While these directives may sound contradictory at first, they become clear after one has studied the music carefully.  Kodály’s varied, yet structured musical language unites the rigid and flexible sections harmoniously to create a masterpiece.

As Alberto’s son, I was thus introduced to this work through a unique aural tradition, learning a different musical language and intricate subtleties practically from the horse’s mouth. This was a privilege I knew not to take for granted, and a lesson about teaching music which I have carried with me ever since.
 
I value these aural traditions all the more dearly now, whenever they emerge, working from the source.  I take pleasure in passing them on to the next generation when teaching my own students. Speaking and writing about them is important, but communicating convincingly through the music itself is the ultimate goal. 
 
We recorded the Duo in 2001 just before my father injured his left hand. We used Paul Sutin’s studio in Switzerland.  Having by then played it so often, we felt it was now time to record it. This recording is a loving tribute to my father and what I learned from him. I am very proud to share it, as a crowning of the efforts that went into its making.  Bob Attiyeh and I give our thanks to Paul Sutin and to the UCLA Herb Alpert School of Music for letting engineer Eric Swanson and me edit the takes in the new Evelyn and Mo Ostin Music Center.  As with the cello choir tracks on this album, we used Arian Jansen’s SonoruS Holographic Imaging technology to mix the recording into the form you can now enjoy. 
     AL

Wednesday, April 04, 2018

Sheku and BBCYM flying high



Lovely, that! Sheku Kanneh-Mason playing his own cello version of No Woman, No Cry, which features on his smash-hit debut album Inspiration. I don't need to remind anyone that it was the BBC Young Musician of the Year Competition 2016 that launched him out of Nottingham straight into the nation's musical heart.

Now it's time once again for the BBC Young Musician of the Year, which this year celebrates its 40th anniversary. Gearing up for it, a TV documentary on BBC 4 last night explored the stories of the three young stars who emerged last time: Sheku himself plus saxophonist Jess Gillam and horn player Ben Goldscheider. It also traces the competition's history with memories from those who took part - Nicholas Daniel, Natalie Clein, Alison Balsom and more - and many more. I was honoured to be among the commentators.

I well remember when it all began, and as a musical child of sorts I was much exercised to realise, thanks to my own peer group, just how far behind them I was. Seeing the likes of Nicholas Daniel, Tasmin Little and all the rest of them on the TV was a tremendous inspiration - so much so that I even insisted on trying to take up the oboe when I was 13. It was a total disaster, but got me out of hockey lessons for a year.

One hasn't always been exactly uncritical of the format and presentation of the series, which at times has veered too much towards TV for the sake of it and too little towards the actual music - but the 2016 edition was a massive improvement and I'm looking forward to seeing what transpires this year.

You can catch up with last night's programme on the BBC iPlayer here (UK only): https://www.bbc.co.uk/iplayer/episode/b09xzsbm/bbc-young-musician-forty-years-young


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Monday, April 02, 2018

Well, that was fun.

I'm not becoming a conductor. That was an April Fool's joke. I've said a kindly version of 'gotcha' quite a few times in the past 24 hours, though. In this delightful age, it often seems that many people are ready to believe pretty much anything, and the best thing about April Fool's Day is that it reminds us we have to weigh up the likelihood of what we read being true, or otherwise, on all the other 364 days of the year as well.

I'd love to be a conductor, but as you need a brain the size of Africa, a skin of titanium and the stamina of a super-marathon runner to cope with that profession, I think it's unlikely to happen. It's a friendly dream, a personal fairy-tale.

The whole world is based on fairy-tales, though. Everyone believes in some of their own, whether pre-set religion, nationalism or the magic of music. That's partly why I'm so fascinated by them generally, and that's one reason I'm working on Meeting Odette (which you can pre-order and be thanked for supporting here, and I'd be extremely grateful if you did) and will be spending quite a lot of time with various others over the next several years. My "career" is undergoing some changes. Just not one involving a podium.

PS - this time last year the London Hamburger Orchestra was also an April Fool's joke. They are not moving to Hamburg. (Though I still think it wouldn't be such a bad idea if they did.)

Sunday, April 01, 2018

Shock: JD to become conductor



Here's the news you've all been waiting for. My career is about to undergo a radical transformation. I am going to be a conductor. And I don't mean buses.

I've been training secretly for quite some time. As you know, I started off with a music degree at a university which specialises in churning out conductors - even though it doesn't actually train them, there's a useful phenomenon that if you go there, you are magically endowed with the ability to wield a baton. Back in the 1980s, however, it never occurred to me that I might become a proper conductor with a proper orchestra. It just wasn't something you did if you were a girl. Now, though, everything has changed.

I've spent my whole career seeking ways to combine words and music. And what could be a stronger means to do that than using the former to order about the latter? So I asked a dear friend for some lessons...

It required courage, I admit. But then again, so does driving a car. You take your life in your hands every time you get behind a wheel, not because you can't do it, but because of all the other idiots out there on the road who think they can. Same thing with conducting. Now, don't get me wrong: I'm friends with many, many conductors and they are, in the main, wonderful people, intelligent, musical, creative and modest. But not all of them are. You have to keep reminding yourself: if such total plonkers can step up on that box in front of an orchestra, then so can I.

Of course, being married to an orchestral musician has proved handy, since at least he can tell me how not to conduct. One must learn, for example, not to be a "windmill", not to have one's mouth continually open, and not to be a traffic cop (though there are some resemblances with that process). I have a major advantage in that if I don't have to play the piano, I don't get nervous. And if you're conducting, you don't have to play the piano, or indeed any other instrument. It is impossible to play a wrong note. And if you forget something, at least the musicians know where they are, so probably nobody will notice.

Now I'm planning my debut, which will be on 29 March 2019 to take everyone's minds off Brexit Day. When we first moved to south-west London, there was a local orchestra called The Mortlake Murderers. It disbanded some time ago, but I am single-handedly reconstructing it from among friends, neighbours and contacts and we are going to do a smashing programme finishing with my favourite Beethoven symphony, No.7. In the first half, Tom will be the soloist in the Mozart G major Violin Concerto, and we'll start with Mendelssohn's Calm Sea and Prosperous Voyage (in honour of our brave little island drifting off alone into the mid-Atlantic...).

With any luck, I'll be able to have some coaching with Vladimir Jurowski. His likely departure for the Bavarian State Opera in 2021, we note, leaves a vacancy at the top of the LPO...

In the meantime, I'm practising at home and I think the look quite suits me, especially the combination (which I believe is a unique inspiration) of tailcoat and pink flowery t-shirt. I'm reliably informed that I need to work on my actual baton grip. But I believe the pen is mightier than the toothpick.

[UPDATE, 22:46 - so some of you guessed this was an April Fool's joke, and you're not wrong. But I'm sorry it's not true. I'd have loved to be a conductor.]

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Friday, March 30, 2018

All for love: a new orchestra sets out


The UK's newest orchestra is off on its inaugural tour on 13 April. The Pro Youth Philharmonia is the brainchild of flautist and conductor Wissam Boustany and takes in a collection of emerging musicians in their twenties and early thirties. The method, says Boustany, is a bit unusual - see logo above. I asked him to tell us more...


JD: Why is the Pro Youth Philharmonia different from other youth orchestras? Please tell us about its USPs?

WB: We are not out to be different just for its own sake… but we have set ourselves up as a training/youth/professional orchestra for emerging musicians aged 22-32 and will tour approximately three times per year. There are some very fine training and youth orchestras around, of course, but we have pinpointed quite a wide definition of ‘youth’ and ‘’professional’ for ourselves, and central to our ethos is my ‘Method Called Love’, a distillation of 30 years of teaching and performance as a flute soloist. I believe that Love elevates any deed into a transformative experience - both in the way the deed is executed and in the way it is perceived - and this in not addressed enough in institutional education and in the profession. This is what is going to light up our music as well as our audiences hearts, as well as the educational outreach programme that we are in the process of activating. 
Simple, but powerful.      

As a flute soloist born in Lebanon, I will be bringing a special focus on Middle Eastern composers and soloists, over the next years. We are bombarded with some much negativity about that part of the world - I would like to facilitate inspired links and develop cultural ties that nurture talent and build opportunities, goodwill and trust between the UK and that part of the world.

JD: How and why did the idea for it emerge?

WB: In 2015 I was invited to conduct Poulenc’s Piano Concerto “Aubade” at the Australian National Academy of Music in Melbourne. This proved to be a transformative experience for me and my wife Shermine encouraged me to pursue conducting seriously. It is all in the breathing… I have a connection my breathing is at the root of my playing and will be the foundation of my conducting. I have been studying with the astonishingly gifted conductor George Pehlivanian in Madrid (how stimulating and refreshing it has been, to study again, at age 57!!). 

This new focus on conducting has also brought up such vivid memories from my days with Claudio Abbado and the Chamber Orchestra of Europe - Claudio’s approach, the combination of his his soft-spoken nature yet devastatingly powerful conducting have left a deep mark on me… and I believe the secret to Claudio’s success was in the way he chose to work with young people through the European Union Youth Orchestra, the Mahler Youth Orchestra and the Chamber Orchestra of Europe; this is how he built up his approach and his repertoire, and how he was able to preserve and nurture his musical and human passion.     

JD: How have you gone about turning the idea into reality?

WB: The simple answer: where love lives, so does empowerment and the Will to overcome.
I was lucky enough to meet Derek Warby, who had worked with EUYO and other orchestras. His knowledge and pragmatism, passion for music, understanding of the orchestral scene and the inner workings of the music industry have been invaluable. He is spearheading our campaign, as PYP fast  approaches its inaugural tour, as our Head of Marketing and Strategy (besides a lot more).

I also met Mathilde Agoustari when I performed with the Qatar Philharmonic Orchestra several years ago, when she was in charge of their Public Relations… Mathilde has been really instrumental in spreading the word about PYP, as our Head of PR/Communications and Outreach. 

I have been overwhelmed by the goodwill shown by many friends, supporters and colleagues, when they heard about the orchestra and the motivation behind it. Our Trustees Hussein Dbouk and Aleksander Szram, as well as  Nicky Goulder (Create Arts) have been a great source of information, advice and encouragement.

JD: What’s been the most challenging thing about creating it?…

WB: When a project like this is being born from scratch, you have zero reputation, so the tendency is for people to wait and see the result (or whether the project will happen at all) before they commit to supporting you, financially or otherwise. The risks of starting a venture like are enormous - financially, emotionally and creatively; but I have always taught my students that you learn in direct proportion to the risks you are prepared to take; so I am humbly walking the talk. 

Luckily, Derek Warby is by my side and has a great overview of the logistical challenges that we face every step of the way; this has helped us stay on track. After this first tour, organising subsequent projects will be much easier.
  
JD:...And the most exciting and rewarding thing?


Boustany and furry friend
WB: I have single-handedly auditioned every single musician (69 players on this inaugural tour). The human dimension of music, after all the hard and often lonely work, is very rewarding. I have been particularly proud of the auditions, because they were designed to be as empowering and conducive to creativity as possible. Candidates chose their own repertoire and improvisation was one of the key determining factors in revealing the inner potential of the musicians. 

On a personal level, I feel that my whole body and brain are undergoing a fundamental rewiring… for 35 years I have been channelling my creativity into my flute - I am now expanding and using my body and mind in a different way, to connect with people and the great symphonic repertoire, after having vowed never to play in an orchestra again, when I stood down from Chamber Orchestra of Europe in the mid 80’s. This whole process has woken me up and I even hold my old friend, the flute, with renewed love. 


JD: How did you choose the programme for the inaugural tour? It’s wonderfully challenging.
WB: Derek and I consulted on this.

The first choice was the Bartok Concerto for Orchestra. What a feast of colour, folklore and internal revelations. Emerging from dark internal depths, Bartok reaches into the external world, putting expression to the 'people's voice', revealing so much colour, optimism, sensuality and humanity - not to mention the convulsions of Nature. And what brilliant orchestration, giving each individual instrument it's voice and character, while allowing a cohesive universality to take root. 

I also love the Prokofiev Violin Concerto No 2 and am delighted that Stephanie Gonley will be our soloist… I am  seeing so many similarities with his great flute sonata. What an enigmatic combination of threat, wit, virtuosity, scintillating rhythm and utterly clever orchestration. He seems to know exactly what emotional symbolism each single instrument carries with it, which brings such colour and character to his music.

I was immediately fascinated with James MacMillan’s The Confession of Isobel Gowdie when I heard it and thought it would balance well with the other works. MacMillan’s chosen theme of the witch-hunt, although relating to historic Scottish events, is something that I think is very relevant to our lives today, as there is always some sort of ongoing witch hunt happening in the media… it seems to be a national sport, to isolate and prey on people who don’t fit with the established and accepted norms of society.  

JD: Where will it go from here - and where would you like it to go eventually?

WB: I need to start reaching out to composers and soloists from the Middle East, and to approach the big movers and shakers to support these projects. 

I also look forward to planning our first full season of tours for  2019 and beyond. We are conceived as a touring orchestra, so I really want to develop these within the the UK and abroad. Once the next tours are set up, I will want to consolidate our educational outreach programme, so that our “Method Called Love” can run rampant among school children, while involving our PYP members in this important dimension of what the orchestra does. We plan to initiate Art & Poetry Competitions in school, so that schoolchildren can voice their feelings about the state of our world - these poems will be recited in our concerts and the paintings will become the artwork for our poster campaigns. 

JD: What is the message you want it to bring to us all?
May love prevail.

The Pro Youth Philharmonia's inaugural tour begins on 13 April at Cadogan Hall, London, then goes to the Sheldonian Theatre, Oxford (14 April) and Victoria Hall, Hanley, Stoke-on-Trent (15 April). More details here.

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Wednesday, March 28, 2018

Children of the Stars



"There is no boundary of difference... different skin, different religion, or different culture - we are all children of the stars."

Here's a fascinating interview with the Korean composer Unsuk Chin, who has a major European premiere in London next week under the auspices of the Philharmonia Orchestra. She talks about her studies with György Ligeti ("He opened my eyes and my mind"), her compositional processes ("I need 3-4 years to get the idea clear") and the blend of science and art that has gone into this huge new work. She collected 150 poems first and finally selected 12-13 variously about the birth of the universe, humanity and eternity.

The resulting different songs/movements span centuries and continents, all of them exploring the idea that we are, essentially and all of us, the substance that comes from a star. Chin says here that she reads about astronomy every day and that it brings her "hope in this world". It's an optimistic work. "My dream is to perform this piece with mixed north and south Korean boys' choir - I don't know if it will be possible, but I have hope."

Is it the Big Bang? "Not that big," Chin smiles, "but I wanted to create...a very big sound with lots of power..."

Unsuk Chin's Le chant des Infants des Etoiles (The Song of the Children of the Stars) receives its European premiere on 15 April at the Royal Festival Hall, with the Philharmonia, the Philharmonia Voices and Trinity Boys Choir conducted by Esa-Pekka Salonen. Tickets here.

Tuesday, March 27, 2018

And a nice long draught from the Glyndebourne Opera Cup

Samantha Hankey, winner of the Glyndebourne Opera Cup, with Dame Janet Baker
Photo: Richard Hubert Smith

You've heard about the journey home, so now here is a view from the inside on the Thing Itself, i.e. the brand-new Glyndebourne Opera Cup. I've written about it for The Arts Desk and you can find it here: https://theartsdesk.com/opera/glyndebourne-opera-cup-view-inside-0

Taster:

I was on a panel of six critics convened to choose the winner of a special ‘media award’ at the Glyndebourne Opera Cup on Saturday evening. What follows is therefore not a review, but rather a chance to chew over the concept and its highs and occasional lows. And you may be intrigued to hear that our panel and the main jury picked the exact same top three winners.

From its first season in 1934, Glyndebourne has been inextricably associated with the music of Mozart. Having decided to devote every edition of its new contest to the works of just one composer, Wolfgang Amadeus was therefore the natural choice for the inaugural event. Mozart suits young voices, as the competition’s founder, ex-Glyndebourne CEO Sebastian Schwarz, pointed out (all the finalists were aged 21-28). But also, as any professional musician will tell you, his music is the ultimate challenge. There’s nowhere to hide. His writing is so streamlined, precise and exposed that if performers are able to draw out its subtle shadings of meaning, with gorgeous tone and sincere emotional expression, you know about it fast. And if they don’t, you know about that too. It’s magic hidden in a minefield...

Read the rest here (£).


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